The Encyclopedia of Interactive Performance

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an offer that fits well with another offer, without being identical

A complementary offer adds something new and relevant to another offer.

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an offer that clearly establishes a story detail

Defined offers establish story elements in unambiguous ways. When the details of the fiction are clear, it’s easier for everyone to play.

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verbal particulars that make a fictional world seem real

There’s a big difference between “I like your house.” and “ I can’t believe you own a beach bungalow here in Malibu.” The difference is the detail that paints a specific picture.

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going along with the intention of an offer

When you follow an offer, you go along with the idea behind it.

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Spects are your co-creators. You want them making offers. When they do, the way you respond depends on how they’re playing. Here are some good rules of thumb.

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If thinking is like walking, one might assume that thinking fast is like running. It’s not. Walking fast and running are two entirely different skills. It’s the same with thinking. Thinking fast isn’t really thinking at all. It’s responding. Thinking is slow and methodical. Responding is quick and intuitive. To think fast, you don’t think, you respond.

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There’s nothing wrong with questions. They’re valuable in many ways. However, if you resort to questions because it’s hard to make statements, that’s a problem. You need the ability to make offers as statements because it’s a clear way to establish context. Here are some ways to turn questions into statements before you speak.

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Keith Johnstone

Presented in the form of practical experiences, this book contains a wealth of concepts and techniques that enhance the quality of improvisational work. Each of the sections—Status, Spontaneity, Narrative Skills, and Masks and Trance—is rich with examples that bring the techniques to life.

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Encyclopedia of Interactive Performance